(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies of Steadman's image of Thompson asleep in a fishing boat chair with the shadow of a vulture creeping up from behind and a shark lurking in the waters below. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen on white Rising Stonehenge deckle edge paper measuring 22 x 30 inches. Fine.

(Lexington, KY: Petro III Graphics), 2006. First edition. One of 180 SIGNED, numbered copies of Steadman's image of a Mickey Mouse-like character in American flag shorts (as seen on the T-shirt of the hitchhiking character played by Tobey Maguire in the film version of Thompson's FEAR AND LOATHING IN LAS VEGAS). An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen on white Rising Stonehenge deckle edge paper measuring 15 x 22 inches. Fine.

(Lexington, KY: Petro III Graphics), 2005. First edition. One of 700 SIGNED, numbered copies of Steadman's image of Thompson passing a car full of craziness. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen print on white Coventry cotton paper measuring 5 x 11 inches. Fine.

(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. Two-color silkscreen on white Rising Stonehenge deckle edge paper measuring 15 x 22 inches. Fine.

(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies of Steadman's image of a winged, cow-skull Thompson flying over the desert with his (?) body perched on his hat. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen on white Rising Stonehenge deckle edge paper measuring 22 x 30 inches. Fine.

(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies of Steadman's image of a flying bird-man Thompson flipping the bird. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. Three-color silkscreen on white Rising Stonehenge deckle edge paper mesasuring 22 x 30 inches. Fine.

(Lexington, KY: Petro III Graphics), 2004. First edition. One of only 30 SIGNED, numbered copies of Steadman's image of a multi-legged, tentacled Nixon. According to Steadman, "The Nixon Octopus was done at the height of the Watergate Scandal and this particular image was made on a Farmhouse Kitchen Table covered in a Plaid Oilcloth in Les Salces, a tiny village in the Languedoc region above Montpelier in the South of France, where we spent many idyllic summers throughout the seventies. Maestro Printer Joe Petro wanted to print a crisp clear edition of it, just an edition of 30, five artists proofs and five Printers proofs. It is a kind of Memory Lane Print. They were Halcyon days back then, and our politicians were all sweet guys who loved walking over their Grandmothers to get anywhere. You could smoke on Aeroplanes and make cheap jokes about knives and bombs as you went through Security to catch any flight about to leave in 5 minutes. We miss it all, and above all, we miss Richard Millhaus Nixon......so this print is a Memorial Print." One-color hand printed silkscreen on White Rising Stonehenge cotton paper measuring 22 x 30 inches. Fine.

[Tucson: Furtherrr], 2015. First edition. A remarkable rendition in bronze of Ralph Steadman's iconic image of Hunter S. Thompson's most infamous character. ONE OF ONLY 50 COPIES, numbered and signed by Steadman in the bronze. Approximately 22 inches high, 34 inches wide and 26 inches long, including wood base. San Franciscan sculptor Bergeron has expertly captured every detail of Steadman's image--from his long cigarette holder and Hawaiian shirt down to his bulging briefcase spewing paraphernalia as he slouches along. The sculpture, which was commissioned by Brian Chambers (Furtherrr), made its premiere in London during Steadman's "Printin' Backwuds" show at Lazarides Editions. Fine. DR GONZO SLINKS FROM THE PAGE.

(Lexington: Petro III Graphics), 2001. First edition. One of 50 portfolios containing a signed exhibition catalog, two signed silkscreen prints and a separate numbered colophon. The catalog, MODERN FICTION AND ART: PRINTS BY CONTEMPORARY AUTHORS, was published by the University of Kentucky Art Museum, Lexington in 1999. It is numbered and signed in ink by Ralph Steadman, Kurt Vonnegut, Joe Petro III (printmaker) and Rachael Sadinski (Curator of the museum). The two original color silkscreens are RED SHARK by Ralph Steadman (in two colors) and MESSENGER by Kurt Vonnegut (in five colors). Both prints are on Coventry cotton paper, measure 12"x16 3/4" and are signed and numbered by the authors in pencil. The above items are housed together in a black ribbon-tied portfolio together with a numbered colophon sheet printed on vellum. Fine. Signed by Steadman and Vonnegut.

(San Francisco: Furtherrr, 2012). First edition, and only edition of this incredible tribute to Gonzo-journalist Hunter S. Thompson. One of ONLY 100 COPIES, many of which have been given out as gifts. Thompson's dual-thumbed, peyote-in-the-palm "Gonzo fist," first seen on the campaign poster created by Tom Benton when Thompson ran on the "Freak Power" platform for Sheriff of Pitkin County, Colorado, in 1970. An image that has since come to symbolize Thompson himself. Come to life in 3-D. Nearly two-feet long, weighing almost 10 pounds. A hefty, impressive piece of art, fashioned to hang on a wall, if so desired. ONLY EDITION OF THIS TRIBUTE TO GONZO-JOURNALIST HUNTER S. THOMPSON.

(Lexington, KY: Origami Express), 2004. First edition. One of 57 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

Vonnegut, Kurt [Jr.].CONFETTI #11: "What is it, what can it possibly be . . ."; Limited Edition, Signed Silkscreen Print.

(Lexington, KY: Origami Express), 2004. First edition. One of 62 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

(Lexington, KY: Origami Express), 2004. First edition. One of 61 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

(Lexington, KY: Origami Express), 2004. First edition. One of 58 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

(Lexington, KY: Origami Express), 2004. First edition. One of 57 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

(Lexington, KY: Origami Express), 2004. First edition. One of 56 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

(Lexington, KY: Origami Express), 2004. First edition. One of 55 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.